“Seth material” search engine (Jane Roberts)

(This performance was as good as the first one. I felt carried away by the voice, almost outside of myself, very light and disconnected from this voice. But I do recall that the book itself, which I held as I paced, was heavy. I grew cold and tingled as I read. My hands perspired quite a bit, perhaps from holding the book. Rob came out of his studio to listen to me. When I discovered that I had recorded nothing this time I felt cheated, because to me this reading had been most unusual.

(I was so angry that I did the whole thing over again. Lepanto is a four-page poem. This time the performance was about like the second one, already recorded. Perhaps if I feel subjectively right about doing it again, I may try it tonight. I don’t know where the volume comes from, the deep manlike tones. Perhaps it is what actors call merely projection, breathing from the diaphragm. I wasn’t conscious of breathing any differently than usual, but if this was a subconscious production that wouldn’t make any difference. But where would the male aspect enter, unless it be a woman’s attempt to mimic as best she could the voice of a man she had admired?